By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A better half to American Art provides 35 newly-commissioned essays via leading scholars that discover the method, historiography, and present nation of the sector of yankee paintings history.
- Features contributions from a stability of tested and rising students, artwork and architectural historians, and different specialists
- Includes numerous paired essays to stress discussion and debate among students on very important modern matters in American paintings history
- Examines subject matters equivalent to the methodological stakes within the writing of yank artwork heritage, altering rules approximately what constitutes “Americanness,” and the connection of paintings to public culture
- Offers a desirable portrait of the evolution and present kingdom of the sector of yankee paintings heritage and indicates destiny instructions of scholarship
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Additional resources for A Companion to American Art
The first section concludes with a dialogue between Rachael DeLue and Bryan Wolf, which engages Wolf’s scholarship of the 1980s—his first book, Romantic Re-Vision: Culture and Consciousness in Nineteenth-Century American Painting and Literature (1982), and the related article, “All the World’s a Code: Art and Ideology in Nineteenth-Century American Painting” (1984)—as a basis for discussion of the relationship between art, history, and the process of scholarly interpretation. This exchange hinges on the question of the availability of history—to historical actors and to interpreters of that history—as a visible, quantifiable, and analyzable entity.
Wallach focuses on the “Marxist” social history of American art, supplying a summary of its history while at the same time distinguishing it from “Marxian” social histories of art. ” Ethan Lasser’s chapter looks at how the study of processes of making might productively contribute to the history of American art. ” Lasser shows what uncommon methods, from running a hand across the grain of a piece of colonial furniture, to the literal reconstruction of a late eighteenth-century porcelain picklestand, can tell us that the textual record cannot.
For their part, modernists mixed their Marx with such figures as Theodor Adorno, Roland Barthes, Walter Benjamin, and Jacques Lacan. 10) The result has been an attention not so much to civic wellbeing as to the possibilities (and historical accounts, largely failed) of radically reordering knowledge and the social order. The stakes in such scholarship are high, and modernist histories can be agonistically, even tragically pitched. To a degree, we do mean to suggest that American art history has a more progressive bent than modernist scholarship, which often seeks only a radical alternative to hegemony.
A Companion to American Art by John Davis, Jennifer A. Greenhill, Jason D. LaFountain